Principles-or-Criteria-of-Translation.doc
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1、_Criteria of Translation1. Translation Criteria of ChinaIn the west, literary translation can be traced to 300 B. C., while in China, recorded translation activities are even earlier, dating from Zhou Dynasty (1100 B. C.). China is one of the countries with a very long history of translation. Throug
2、h the practice of translation, a system of translation theory with distinctive national features has evolved and has taken shape. The followings are a few influential criteria during the different ages.1.1 Xuan Zangs CriteriaThe first peak of translation begins with the translation of Buddhist scrip
3、tures佛经、佛典. Early in the Tang Dynasty the learned monk Xuan Zang (玄奘,602-664 A.D.) has contributed his life to translation and put forward the criteria of translation with emphasis on accuracy and general knowledge. He has set down the famous translation criteria that translation “must be both truth
4、ful and intelligible to the populace” (成昭伟,2006:9). In a sense, Xuan Zang, with such a formula, has tried to have the best of two worldsliteral translation and free translation. In his view, the translation should be both authentic to the original and accessible to the public, which attaches equal s
5、tress on fidelity and intelligibility. He has stated his principles of “five no translation” (五不翻), which refer to five cases in which transliteration should be used (Yan Yang, 1992:67): 1). it is a secret; 2). it is a word with many senses;3.) it is not available here; 4). the established translati
6、on should be followed; 5). unfavorable misunderstanding should be avoided. In practice, Xuan Zang tries many translation methods. He is the first Chinese translator who tries translation methods like: amplification, omission, borrowing equivalent terms from the target language etc. He is regarded as
7、 one of the very few real translators in the history of China for his great contribution to both translation practice and translation theory.玄奘的指导原则就是:“既须求真,又须喻俗”。“求真”即追求准确,要力求“忠实原作”,这是一切认真负责的翻译工作者的共同理想。同时必须“喻俗”,亦即使群众理解,这就是说要“通顺”。他总结多年翻译佛经的经验,建立了"五不翻", 他说的"不翻"并不是不翻译,而是"不意译&q
8、uot;。 他认为在以下五种情况下要译音: 1)秘密故(也就是佛教的秘密,如咒语,要译音) 所以唐僧的紧箍咒若译成了汉语还是白搭。不学梵语,就想拿住孙悟空?非得用那拗口饶舌、难为发音、贴近原文的声音才能生效。难怪无论你说"芝麻,开门!"还是"Sesame,open!"都不管用。那原本是阿拉伯魔法,不学人家的语言,就是不灵。 济公的咒 2)含多义故 (不是指一词多义,而是指需要长篇大论解释的概念,应先译音,再讲解普及)比如将梵语bhaga
9、vat译音为薄枷梵。原词虽指佛陀(简称佛,“觉悟者”),还含有"自在、炽盛、端严、名称、吉祥、尊贵"六义,光说佛陀,不足以表达其世尊。同理,功夫的英译现在是Kongfu,以别於martial art武术,方显出功夫之"耗时、耗力、守元、固本"等要义。 3)此无故(中国没有的东西) 与其它四类相比,此类不同之处大概是指我们没有的具体事物和人名地名,也是下文要详加讨论的一类。此不赘述。 4)顺古故(既已有的译音,不再重译) &
10、nbsp; 在唐僧译经之前,梵语Anuttarasamyaksambodhi已经译音为阿耨多罗三藐三菩提,其意为能够觉知佛教的一切真理,并如实了知一切事物,从而获得无所不知的智慧。但这个词实在太长,虽然唐僧沿用了,后来还是被简化为阿耨菩提。现代的典型例子是莫斯科,这是根据英语发音翻译的。虽然俄语念作莫斯科瓦,但由於中国人已经习惯了莫斯科,现在仍然顺古。 5)生善故(既只可意会,不可言传者,要译音) 梵语Prajna的意思和智慧差不多,但佛教徒认为它和一般智慧不同,认为它是直接了解一切事物本质的特殊智慧。
11、我等不信佛者,大概体会不到,无法苟同。不管怎样,既然译者认为不同,就译音为般若,让和尚、尼姑和居士们潜心揣摩这可望而不可及的能力。"推拿"现在译音为Tuina,也许可以算作此类译音的现代范例。以前推拿曾译作massage,不仅贬低了这种疗法,还容易和性行业混淆,难怪保险 公司不肯纳入承保范围;而chiropractic therapy(脊椎按摩疗法)另有一套理论,虽有相似的手法,亦有格格不入之处。其间差异,让常人看来,远大过智慧和般若的差别。 Yan Fus CriteriaWhenever principles or criteri
12、a of translation are under discussion in China, the criteria proposed by Yan Fu would be mentioned. In 1898, Yan Fu (严复,1853-1921) has established three- character standard in translation, that is, faithfulness(信), expressiveness(达) and elegance(雅). Faithfulness requires that the meaning in the targ
13、et language should be faithful to the meaning of the original; expressiveness is the requirement of intelligibility of the target language text; the translated text should be in accordance with the language rules of the target language; elegance requires a translation to be aesthetically pleasing. A
14、s a milestone in the history of Chinese translation theory, Yan Fus statement marks an epoch in translation studies in China. Its significance and its impact on the development of Chinese translation theory far exceed what the literal senses of those three characters can cover. “雅”,有异议,认为典雅的文章应译的典雅,
15、把不典雅的文章译为典雅,与“信”背道而驰,于是后人把“雅”换成“保持原文的风格”。1.2 Lu Xuns CriteriaLu Xun (鲁迅) has proposed “faithfulness and smoothness”. The value of a translation lies in its faithfulness to the original text. He insists that the main purpose of translation is to introduce the culture and social lives of foreign count
16、ries to the Chinese people. He advocates that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. “For Lu Xun, no matter how strained a translation is, a reader who makes an effort could manage to understand it at last provided
17、it is faithful to the original.鲁迅:凡是翻译,必须兼顾这两方面,一则当然力求其易解,一则保存着原作的风貌。他极力主张用直译,提倡“宁信而不顺”的原作。费厄泼赖,英语Fair Play的音译1.3 Fu LeiFu Lei (傅雷) has provided his theory of “Resemblance in Spirit” or “spiritual conformity”(神似). “Fu Lei tries to make two points. First, it is impossible to convey the spirit of the
18、original by reconstructing the pattern of the source language in the target language. Second, translation should be similar to painting, and what it aims at is a spiritual resemblance rather than a formal resemblance.” Fu Leis theory of spiritual resemblance has touched the subject of cultural trans
19、lation. In his view, translation is not an imitation of the original but an equivalent to the original. If the original is a piece of art, Fu Lei maintains, it must be reproduced in such a way that its translation is also a piece of art.1.4 Qian ZhongshuQian Zhongshu (钱钟书) has stated the highest sta
20、ndard of translation is transmigration or sublimed adaptation(化境), which focuses on the translators smooth and idiomatic Chinese version for the sake of Chinese readers. “If, when a piece of work in one language is turned into another language, there is no mark of unnaturalness due to linguistic dif
21、ference and if the original flavor is maintained, the translation can be regarded as one which attains the sublime realm” (钱钟书, 1997: 269). He points out that in cultural exchange the function of translation is like a mediating agent who recommends to others that they should acquaint themselves with
22、 foreign literature or who recommends to others to love foreign literature. Qian's requirement for literary translation is so high that he himself has to admit that it is impossible to transmigrate everything of the original text to the target language, and that perfect transmigration of the ori
23、ginal text into the target language is just an ideal.文学翻译的最高标准是“化”。把作品从一国文字转变成另一国文字,既能不因语言习惯的差异而露出生硬牵强的痕迹,又能完全保存原有的风味,那就算得入于“化境”。十七世纪有人赞美这种造诣的翻译,比为原作的“投胎转世”(the transmigration of souls),躯壳换了一个,而精神姿致依然故我. 钟书当初被推荐翻译毛泽东选集实践论、矛盾论翻译中遇到重大疑难,往往请他定夺。金岳霖有次碰到一句成语“吃一堑,长一智”,不知怎么翻译是好,便请教钱钟书。钟书几乎不假思索地脱口而出道:A fall
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